“Is your decision to play the game without the two young ladies on the team, or do you want to stay as a team as you have all year?” asked parent Matthew Dohn. “Show of hands for play as a team?”

Eleven hands shot up in unison. No one raised a hand when asked the alternative.

Assistant coach Keisha Martel, who is also the mom of one of the girls, Kayla Martel, reminded the team of the consequences. They had been told that playing the girls would mean the rest of the season would be forfeited.

“But if the girls play, this will be the end of your season. You won’t play in the playoffs,” she warned.

“It doesn’t matter,” one boy replied and others echoed, before the team began to chant, “Unity!”

* Russia has secretly deployed a new cruise missile that American officials say violates a landmark arms control treaty, posing a major test for President Trump as his administration is facing a crisis over its ties to Moscow.

* “I understand that they feel like that is their body,” he said of women. “I feel like it is a separate — what I call them is, is you’re a ‘host.’ And you know when you enter into a relationship you’re going to be that host and so, you know, if you pre-know that then take all precautions and don’t get pregnant,” he explained. “So that’s where I’m at. I’m like, hey, your body is your body and be responsible with it. But after you’re irresponsible then don’t claim, well, I can just go and do this with another body, when you’re the host and you invited that in.”

The Xenofeminist Manifesto, published by the feminist collective Laboria Cuboniks lays out a new framework for technology’s role in social progress. “Why is there so little explicit, organized effort to repurpose technologies for progressive gender political ends?” the authors ask. “The real emancipatory potential of technology remains unrealized… the ultimate task lies in engineering technologies to combat unequal access to reproductive and pharmacological tools, environmental cataclysm, economic instability, as well as dangerous forms of unpaid/underpaid labor.” This reframing of technology requires a politics that does not shy away from scale and complexity.

* No one knew then that Springsteen, like Smith, would provide a through-line for his fans as things got worse, shifted in unimaginable ways, shifted again. Springsteen has himself changed with the times, becoming more sensitive to the issues his most-adored music still raises. Born To Rundemonstrates that. The decency at the heart of his memoir is a balm. He’s not only survived a life in rock and roll; he shows how a true believer doesn’t have to get stuck within its illusions, no matter how much they also attract him. After all, to Springsteen, a worthwhile dream isn’t an illusion; it’s a form of work.

* So how much money is the NCAA making? In 2010, CBS and Turner Broadcasting gave the NCAA $10.8 billion for a fourteen-year broadcast monopoly on March Madness games. Estimated ad revenue for the 2013 tournament reached $1.15 billion, while ticket revenue brought in another $71.7 million. Last year no less than thirty-five coaches pulled down salaries higher than $1 million before bonuses; Duke’s Mike Krzyzewski topped the list with an income of more than $9.6 million.

* Guarding against the errant, suicidal murderous pilot belongs to a category called “wicked problems” — the complexity of the system and the conflicting incentives mean that every solution introduces another set of problems, so the only way forward is always going to be an imperfect one. Second, and perhaps more importantly, is that this once again reveals how, as humans, we are lousy at risk assessment, and also lousy of accepting this weakness. The problem is wicked, but its occurrence is so rare that it is almost unheard of — partly why it terrifies us so. Our imagination, biases and fears are terrible guides to what should actually be done to keep us safer, and this has significant consequences in a whole host of fields, ranging from terrorism to childcare to health-care.

* But unlike its predecessor, the show has no obvious narrative progression. Nacho’s important, or he’s not; the Kettlemans are half the show, or maybe we should care about Sandpiper. There are flashbacks to Jimmy’s past where Bob Odenkirk is playing either 25 or 57—a savvy criminal or a neophyte screw-up. In the lead-up to Better Call Saul, there were theories that the show would be funnier than Breaking Bad (maybe a sitcom?) or more procedural than Breaking Bad (maybe The Good Wife for bad boys?) or more episodic (like X-Files with lawyers!). None of that is true, and all of that is true. It’s interesting, but not the way great TV is interesting. Better Call Saul reminds me more of Treme or John From Cincinnati: post-masterpiece meanders.

* Clarke makes her point not with stirring courtroom rhetoric or devastating legal arguments but by a process of relentless accretion, case by case, win by win. This is her cause. Because if the state cannot put these defendants to death, then how can it put anyone to death? Thirty-five executions took place in the United States in 2014 for crimes that form an inventory of human cruelty—and yet few were as willful and egregious as those committed by Judy Clarke’s clients.

* Senate Republicans say the current system is unfair because rural residents are effectively supporting urban counties’ schools and services when they shop there. Yes, that’s literally how the system is intended to function.

* I mock the idea of “the law” around here a lot, but I never for the life of me imagined a scenario where the emergence of a video that shows a man accused of murdering his stepdaughter defiling her corpse could be bad news for the prosecution.

* Epigrams for my research agenda: That’s to say nothing of the fact that the people involved in GamerGate that Grieco defends are, in fact, not poor bullied kids. They are, overwhelmingly, employed, educated, privileged adult men, many of whom work for some of the most powerful and profitable industries in our economy. Their beloved sci fi and comic books and fantasy genres and media– those aren’t reviled and disrespected properties that people are ashamed to like. They’re economically dominant and critically lauded, and given the way the internet makes culture spread more broadly and intensely than ever before, are probably the most powerful force in the history of the arts.

The Wire extends and elaborates melodrama in remarkable ways. But, as Williams says, melodrama remains a broadly liberal medium — and as Williams doesn’t say, liberalism and neoliberalism are not especially distant cousins. Liberalism can critique neoliberalism for its inequities, its cruelties, and its callousness. But to neoliberalism’s call for data and surveillance, liberalism can only respond with a call for better data and more nuanced surveillance; to neoliberalism’s doctrine of individuality as sameness, liberalism can only offer a deeper individuality subsumed within a deeper sameness. The Wire is undoubtedly one of the greatest melodramas extant, and an object lesson in how powerful the form can be. Its limitations aren’t a failure on the part of its creators so much as an indication that melodrama, having gotten us to this particular liberal democratic impasse, is unlikely, on its own, to get us out.